Set 1 1. You're The One 2. Nana's Chalk Pipe 3. Many Rivers to Cross -> 4. Jam 5. Baby Baby 6. setbreak announce
Set 2 1. Tangled Hangers 2. tuning 3. Tongue and Groove 4. tuning 5. Golden Road 6. tuning/thanks 7. Slow Down 8. thanks
Andy Hess - bass
John Molo - drums
Pete Sears - keys
Every time I post something I've run in this configuration (with different mic patterns for each mic) at Sullivan Hall, someone invariably comments "What is up with the different mic patterns?" Well, in this room it's impossible to set up in the center of the room unless you set up in the very back, next to the soundboard (or hang your mics from the ceiling). So I generally opt for getting really really close, and taping my stand to a column about 10 feet from the stage. The column is unfortunately just inside of the left PA speaker, far off center. So what I do is point the left mic straight at the stage in subcard setting (appropriate when you're 10 feet from the source) to get mostly what's coming out of the PA and some stage bleedthrough and then point the right mic wide to the right (in hypercard to give me a bit more reach) and the ratio of stage volume to PA volume flips -- in the right mic I get slightly more stage volume and slightly less PA. In most cases it works out pretty well, and it definitely did on this recording. The upshot is that you get a bit more keys in the left and a bit less vocals (for the last song in the show) in the right channel. Ultimately I think this is the best I can do given the situation and I think it sounds pretty stellar regardless. I have experimented with different configurations and locations in the venue, but I think this tends to yield the most pleasing results.
Recorded, mastered, and tracked by Scott Bernstein